The Top 50 Moments of Pearl Jam’s 2024 Tour Part 2: Top 25

Photo courtesy Mike Dziama via ConcertPants

The Top 50 Moments of Pearl Jam’s 2024 Dark Matter Tour: Top 25

Introduction – Randy Sobel

Welcome back everyone! After all the hype from part 1, I’m sure you’re all dying with anticipation to find out what we’ve selected as the 25 best moments of the 2024 Dark Matter Tour! I think you will all be pretty satisfied. I’ll harp back on it again, these 25 songs define the entire year of Pearl Jam, whether they are biased picks or not!

What’s most interesting to me about the selections on this list when it comes to the Top 10 is that some of what are considered the most fan favorite shows of the year don’t have a moment featured at the top. Vegas night 1 is a good example, but another example, surprisingly, is Philadelphia night 1. Ask most people who were paying attention this year, especially those in attendance, they will tell you that this was the top show and it’s not even close. I’ll second that notion.

I recently ranked all 35 shows that I’ve been to in order of importance, and that Philly show that happened a mere three months ago ended up as number 3 on that list. If you don’t know the reason why as you read this right now, you will very soon. But that show was explosive from start to finish making it tough to pick just one defining moment that it had. However, shows like Ohana are well represented. Both Seattle shows have moments very high on this list. There’s also an important moment from Barcelona and Sydney that have good real estate.

My point is this – you could’ve gone to just about any show this year and seen something magnificent. That’s the true beauty about following this band, you could be in the middle of America on a Tuesday night and still see something that no other crowd has seen before.

I’ll save further comments until the end. For now, let’s jump in and find out what stuck out the most from this year.

25. Footsteps – May 10, Portland, OR

In the moment, hearing the familiar chords that mark the onset of Footsteps was disorienting. That disorientation quickly gave way to excitement as many in the crowd realized we were trading the customary Baba O’Riley or Rockin’ In The Free World for the Mamasan Trilogy. Hearing the trilogy live under any circumstances is special. We endow instances like this with importance not just because they are special moments unto themselves, but because they reframe and give new meaning to others. Footsteps as the concluding song of the encore set, and therefore played after the house lights had been turned on during Alive, did so by underscoring and resolving the two very different emotional waves that crashed throughout the evening and were at least palpable, if not discernible, when Eddie pronounced “part three.”

Firstly, this version of Footsteps underscored the dark tenor that had tinged parts of the show to that point. The emotional heft, which built some during the show’s first half, was particularly pronounced in the encore set. Here, the critique of modernity leveled in Do the Evolution oozes to fore while this rendition of Crazy Mary reads more like tragic preface to the three-part rock opera that would follow. Yet a certain dissonance inflects each of the five songs that take us to the precipice of Setting Sun, which would formally conclude the evening. Over the years, live performances of these songs have come to elicit a reaction that rests in contention with their original meaning. In this vein, the version of Footsteps we received in Portland did the work that Neil Young’s rebuke of Reagan’s third term typically does at a Pearl Jam show by inviting the audience to join the band and reconcile these contradictions collectively.

The audience’s ability to invert the meaning of these songs in a live setting — to take the trauma and violence of the songs that make up the Mamasan Trilogy and render them therapeutic and cathartic—ensures that live shows, even when tinged by the dark, retain the potential for the celebratory. In Portland, closing the encore set with Footsteps centered the band’s own foundational moment on a night where they celebrated the musical tradition of the Pacific Northwest. Matt Cameron’s tribute to Portland’s punk scene started the evening; Seattle’s Deep Sea Diver continued it; Mudhoney, now a band split between Seattle and Portland, was shouted out during the encore break; Sleater-Kinney’s Modern Girl was tagged on Not For You. Here, the Mamasan Trilogy could capture more than just the emotional urgency and call to action that Rockin’ or even Baba do. For a band playing this part of the country for the first time since the 2018 Seattle shows (8/8/18 & 8/10/18), Footsteps with the lights on was not just a fitting coda to the evening: it could be a homecoming away from home.

— R. E.

24. Song Of Good Hope – August 26, Indianapolis, IN

I knew Michele from the Pearl Jam women’s group on Facebook, but didn’t know her well. She had recently posted about her doctor visits and her cancer battles and how the news wasn’t what she hoped. She also talked about how excited she was to see PJ in Missoula and Indy and how they were much needed. I knew Michele had a big fight ahead of her when she returned from the shows and I thought, why not give this a shot.

I wrote up a letter to send to the Ten Club talking about Michele and her fight and how she’s an amazing and loved person. I thought if Ed could just hear her story, perhaps he could pass his positive energy to her to fight this evil cancer. Maybe this would make a difference in her fight. I didn’t want Michele to know about the request in case it didn’t happen, so I posted the letter and her photo on my Facebook, blocked her from seeing it and made a note on PJ women’s group that I needed help. My friend, Tracy Charles, also posted the letter on her page. I asked anyone else I could think of to help email Ten Club and also messaged from multiple accounts. The PJ community, and especially our women’s group, really bonded together. We always try to lift each other up, so I just knew we could make this happen for Michele. I felt it.

Missoula came and went, but I figured it was too soon as I only started this two days before that show. However, on the night of Indy, I was watching a live feed and the minute Ed started talking about someone in our community, I heard his words. Some were similar to my words and I knew – this is it! My heart was racing and I was besides myself with joy. We did it! Our PJ community did it! Ed spoke so lovely about Michele, and then he and Glen sang the most moving version of Song Of Good Hope. Michele was getting Ed’s positive energy and the crowd’s energy! It was a beautiful moment. I couldn’t have been happier that night. Even in a large ocean, together we can make waves.

— Debbie Strozier

My name is Michele Mintz Menke, or some people like to call me Triple M. I have been dealing with breast cancer since December of 2011. 2024 has been very challenging for me, my cancer has returned twice. I was so excited that I could make the rescheduled Indianapolis Pearl Jam concert. The concert was on a Monday and I was starting my new chemo on Friday. I had lawn seats, but the Pearl Jam community rallied and found me pavilion seats. I was four rows in front of Mike and Jeff (my favorite). I knew Indy was going to be a good show, because they opened with Wash!

The Pearl Jam community would strike again at the show with their tremendous support of me and my cancer journey. It is the encore break time and Eddie comes out with Glen Hansard. They both sit down to do a duet when Eddie starts talking about a member of the community. I soon realize this is me! I instantly start crying, and can’t believe the PJ community did this for me. The words that really stuck with me are, she is battling, battling with courage and courage is the cornerstone of hope. He also asked the crowd to send me their good energy. I will never forget turning around and seeing everyone smiling and cheering for me. It was so surreal. It warmed my heart, and it is forever ingrained in my memory. The song that he dedicated to me was the Song Of Good Hope.

“And watch the signs now
You’ll know what they mean
You’ll be fine now
Just stay close to me
And may good hope, walk with you through everything
May the song of good hope, walk with you through everything”

It was a perfect song for me. When people say music heals, they are correct! I will always be indebted to the Pearl Jam community for their love and support they have given me through my journey with cancer.

— Michele Mintz Menke

23. Daughter/It’s OK – November 18, Melbourne, AUS

This was my show of the tour, and this moment certainly helped elevate it to that spot. As the band jammed the Daughter outro, Ed strapped on his guitar and I said to my friend Annette, “Um, why does he have his guitar?” We both freaked out. It was such a powerful and special moment, accented by Ed’s passionate delivery and Mike’s lead, even if some in the Golden Circle weren’t aware of its significance.

You often think, if I could request one song, what would it be? I’m happy with anything at a PJ show, but so grateful that a fan requested this, after its absence of 6 years, and a gracious Ed accepted. I felt connected to this show more than any other. How and why? A Melbourne crowd in fine voice (although could’ve been louder on this one, but it’s ok), the company around me, the set list and the band.. just pure fire from start to finish, delivering a set that triumphed and soared.

— Brad Arundale

22. Alone – September 9, Philadelphia, PA

I first fully caught the PJ bug in my freshman year of high school once I became privy to a not-so-secret section of my local record store that carried bootlegs. I liked the band before but wasn’t collecting the singles or anything, so the first time I heard Alone was on one of my first boot purchases, the classic No Fucking Messiah. And this is where I had my mind truly blown by the great songs that weren’t even on albums, Alone among them. So I’ve always had a deep affection for this song and that bootleg as a big jumping off point with my fandom.

My tight relationship with this song was further cemented when I saw it live in Boston ’04. Considering it hadn’t been played in over ten years prior to that show, I considered it as my first real white whale song. It is always with great excitement every time I have caught it since, like spotting a long-lost friend across the bar who has lots of stories and time to share them. Here at my first show in Philly, it was all the more welcome as Ed added to his usual nod to J.C. Dobbs with the extra detail of showing the original poster from the show on the screen. And then pointing out a fan in the crowd named Melissa who managed to save a piece of the back wall at Dobb’s that the band had signed before the building went the way of The Spectrum.

The performance really is great as the band sounds completely relaxed and unrushed while maintaining the song’s signature punchy yet hesitant groove. And I loved Ed’s shout out at the end calling it a Stone “classic” and mentioning Jeff used a fretless bass on it. One of my favorite songs from a good show caught in the shadow of a great one right before it.

— Tom Gregory

21. Light Years – May 13, Sacramento, CA

Tom Pugh embodied the many powers that music holds. Upon hearing Alive at what turned out to be a crossroads in his life, he realized that he truly was, wanted to celebrate being alive in a way that would bring him the most happiness and settled upon booking a 5-show Pearl Jam US mini-tour. During his tour, a series of circumstances planted the seed which ultimately grew into Given To Live.

According to Tom, the mission of Given To Live was “to make it possible for the vulnerable and excluded to see live music. Cover the costs – all costs – of going to a show. Then, less simple, to give someone the gift of being honored and valued using live music and their favorite band to do so. Not everyone feels special, or feels deserving of good things. For them we say yes you are.”

Given To Live’s mission proved to be a successful and uplifting one. Driven almost exclusively by grassroots fundraising, GTL provided many life-changing experiences for the concert goers that they selected, and their stories were lovingly documented by Tom to be shared with the world.

“For one day you’ll be the star of the show, and Given To Live will do everything in its power for you to feel that.”

Tom unfortunately passed away in April. The mark that he left on so many will last forever.

In Sacramento, Tom received a heartfelt dedication from Eddie Vedder before Light Years that conjured up so much emotion in him that he briefly struggled to start the song, but once it started, we were treated to a spirited rendition that tapped into all of the emotions of a crowd visibly and audibly moved by this tribute; a performance that truly embodied the power of music, as did Tom, whose light made many stars.

— Ned Lally

20. Given To Fly – September 3, Madison Square Garden

Anytime PJ announces tour dates for the east coast and Madison Square Garden, it is awesome! MSG is one of those venues where you need to see PJ. From their first set of shows in September 1998 to the most recent twofer this past September 2024, the MSG shows are always special! The sold-out crowd was loud and ready, you could feel the energy and excitement.

The highlight of the show was when Ed dedicated Given To Fly to a young man in the crowd named Adam. Adam was attending his second PJ show with his father, but it was a heavy time for them as Ed began to tell the garden crowd of how the boy recently lost his mother and his father lost his wife. Ed spoke to the healing power of music and how much courage, guts, faith, and trust that Adam and his father had (to attend the show shortly after such a loss) and how the band appreciates the opportunity to help Adam and his father heal.

Ed continues the story of Adam and his struggles with Autism and the bullying he experienced in school. He explains that the bullying was so bad that the boy had to change schools, and at that moment you can hear the tone in Ed’s voice change. He was getting angry. He wanted to know what kind of parent lets their child bully an autistic child, a beautiful child and remarks “what kind of fucking parent is that? Ed answers his own question by telling those parents to fuck off. The garden erupts, the roof is shaking. Ed also tells the school district to fuck off for letting this bullying take place and not protecting a child, leading to an even bigger response from the Garden faithfull.

He sums up the story by telling the boy that when he goes home; tell those parents and the school district that Ed Vedder says fuck off, tell them that Pearl Jam says fuck off and that Madison Square Garden says fuck off. The roof is blown off the building by this point. Mike McCready rips into the beginning of Given to Fly and Ed screams “Adam this is for you, we love ya” on que, the garden crowd joins Ed in singing Given to Fly!

— Thomas Taubes

19. “Yellow Wing” – May 28, Seattle, WA

On a night where Pearl Jam played their first arena show at home in Seattle in over a decade, there were no lack of big moments and surprises mixed within this set. The end of the main set especially went out with a massive bang ripping out emotional heart strings with Man Of The Hour, knocking off an ultimate checklist song in Satan’s Bed and then Rearviewmirror, which of course needs no explanation. The finale of the show felt no different. All Along The Watchtower was an incredibly fun performance featuring Deep Sea Diver, but once Yellow Ledbetter hit, it wasn’t quite business as usual for the common set ender.

McCready’s Jimi Hendrix influence is no secret to anyone, and neither is Ledbetter’s very clear inspiration from the song Little Wing. So it’s not that Little Wing’s usage here was the surprise factor, but more so in the way that it was interpreted. We’ve seen versions in the past where Mike would add it as a tag onto the end of the song, and even on rare occasions where we’d get to see a full band version at the tail end. But this time was different. To completely halt Ledbetter and pivot into this direction came out of nowhere and shook up the foundation of what we know as a setlist standard. Ledbetter had already been renting out its closer role to Setting Sun for the month of May, so there was no harm in trying something different. And it was killer. Mike dominates the solo, channeling his inner guitar God and puts on a show as one of the lasting images of this night before closing the show properly. To add another extra element, you can pretty much say this version is part of a medley as they cycle back to the ending refrain of Ledbetter for a proper close to the song.

They’d go back to this two more times over the course of the year, but this was the moment that the newly minted term “Yellow Wing” was born.

— Randy Sobel, Live On 4 Legs Host

18. Brain Of J. – September 7, Philadelphia, PA

So before you go thinking that this is a homer pick meant to satiate my personal experience witnessing my favorite song for the first time in 33 attempts, it’s here partially due to that, but mostly because of how explosive the performance was. A little bit of background for those reading who may not follow the pod. Brain Of J. was the first Pearl Jam song that I gravitated towards as a 12-year old obsessed with Yield. I’ve been going to shows since 2008 and have been fortunate to hear every other song off of the record at this point except for this. I was so determined to hear this song that I purposefully purchased tickets to last year’s Fort Worth show in order to fulfill my destiny, knowing that they always play it in the DFW area due to the Kennedy assassination. Unfortunately, I got bit by the Chicago Covid wave, had to cancel my trip and settled for watching it get played via livestream.

Night one in Philly took place on the eve of my date of birth, and although I had multiple people come up to me throughout the day and wish me the best for my request, I was skeptical that it would actually happen. Whether it was divine intervention or sheer luck, my friend Mike (who’s writing you’ll see on this list shortly) gave a note to Ed’s security guard in Chicago that read “please play Brain Of J in Philly for Randy.” I have no idea if that’s the reason why it happened, but when those opening chords ripped through following the conclusion of Why Go, it clicked in almost immediately. Finally, I’m witnessing the song that defines my fandom of my favorite band. I was… uncontrollable. Legitimately could not even sing the damn song because of the bomb of emotion that was dropped on me. Easily the best highlight in 16 years of seeing this band!

OK, so I know that I said partially, and that may have felt like 80% of the reason, but seriously guys… this performance was an absolute barn burner. Scorching fast just like they would rip it in 1998, and it was that point this early in the show that you knew the band was clicking on all cylinders in front of a red hot crowd. A Saturday night in Philadelphia is not for the weak of heart, and Brain Of J. is a moment that absolutely plays into that sentiment. One of my favorite things about this version is that during the post-chorus, Ed extends the lyrics, perhaps accidentally, and keeps it going until it hits the bridge. Sometimes in these instances he’ll stop and realize that he’s not supposed to be singing and cut himself short, but the fact that he rolled with the punches on this one created some of the magic that the energy played into. Stone nailed the solo, Matt was a machine. This is the moment that sparked an instant classic show.

— Randy Sobel, Live On 4 Legs Host

17. Man Of The Hour – May 28, Seattle, WA

I’m not even sure where to start this story, so perhaps I should just start from the middle. I was in Seattle and keyed up beyond belief for (finally!) my first time seeing them in their hometown. In my mind’s eye, two separate moments came together as one; first, my sweet friend Amy (and seatmate for the night) are sitting near to our seats in a mostly-empty row, eating pizza and hydrating, as we took in the superb opening act. I was excited to share the show with her, because she’s such a kind and generous soul – and loves music more than even I do, which is powerful to be around.

During the set break, we were chatting about what we thought might happen and what songs we hoped for. I mentioned that I had promised my daughter that I would record Wishlist or Man Of The Hour for her if they happened to play them. I had explained to her that Man Of The Hour is very rare and very special, so not to get her hopes up. Amy immediately told me that that song was also very personal and special for her, as she had tied it in her heart to her ailing father. I interpreted what she had said as it being a song that she hoped would be a goodbye of sorts when his time came.

Now, mind you, I knew a good bit of this already from group conversations, but a text message on a phone is one thing, and your friend pouring their heart out to you in person is an entirely different thing. I knew that her dad was well into his 90’s, and very important to her, and the bond that they had – even literally across the entire country – was strong and truly something special. I related to it in some upside-down way, in that I have two young daughters, so in some small way it was like a glimpse into life many seasons from now.

So, here we are, two people that are both very much of one mind in that we take what the band gives us, never wanting spoilers, loving every show for what it is. Yet, we had this opposing stance tonight: her not ready to hear it, me hoping for it every show, if only to put a smile on my daughter’s face. Soon, however, that conversation was a memory and we were taking in a phenomenal show in a gorgeous venue. Thin Air had mesmerized me, the Dark Matter songs were everything that I hoped them to be, and we were having a blast.

Then, Ed started talking about Bill Walton. I had the most conflicting feelings in a heartbeat, because it flashed into my mind: this could be it. And it was. Those delicate, graceful opening notes are unmistakable. I burst into tears, and somehow in the wave of emotion and the darkness of that floor of that arena, Amy and I embraced and just cried together.

I’m supposed to be telling you about the song – the truth is, I don’t remember it. The memory of that was the victim of things that are so much more important. All I know is that I managed to fumble my way into recording a video of (most) of the song for my daughter. Sometimes, the memory isn’t of what you expect it to be, and those memories are often the best ones.

— Aaron Redmond

This is Elise’s favorite song. The one that she most wanted to hear. Eddie’s been saying of late that when we’re in a room with so, so many people, there are bound to be more than a few of us who are hurting. Feeling loss. Man Of The Hour is the ultimate love song for a father from a child. At 8, Elise feels that. Her dad, Aaron, is her hero. After Daughter. After Upper Hand, the ultimate song of loss. After Waiting For Stevie about Ed’s young girl finding her tribe. Fathers and daughters. Loves. That special, special bond.

From Portland to Seattle, Eddie seemed to be feeling a sense of intimate loss. I think we were all there to help each other through loss. Eddie needed for us to be his family this year. We were, and have been, for a long time. I think we were the final hug in Sydney, when we helped him into his next phase of loss and acceptance with Hunger Strike. Missing Chris so intensely, not knowing how to deal. Evolving through is grief and pain, on his own. Finally, he let us help.

The day before Seattle night 1, Bill Walton died. Eddie told a tale of meeting Bill when he was injured, a big man with a huge heart, full of love. At 6’11”, his crutches were taller than Ed. “Goddammit Bill, we miss you already” he cried. “Wish us luck down here, I know you’re fine.”

The first two notes sounded, and Aaron and I immediately turned to each other. Elise! Dad! We cried and hugged each other so tightly. Tears streaming the entire song. “The Man Of The Hour has taken his final bow, goodbye for now.” Too soon. It’s not time to hear this yet.

This song means so much for so many of us. Some feel that Release is their story of losing a father. For me, it’s Man Of The Hour. My dad was a magical being, an imp, so full of love and wonder. I had never wanted to hear this song until after my father died. He’d been slowing down for the past couple of years. I wanted to hear it in Philly, my hometown, his hometown, but I wanted him to still be alive. I got it in Seattle; he was still alive. I wasn’t supposed to hear it that early.

My dad died between Missoula and Philly. At his cremation ceremony, we played Man Of The Hour; there were just seven of us there. No man can ever live up to him. In Philly, just days after his passing, my friends who were gathering for PJ knew that I wanted to hear this song to help him into his next life. Upper Hand was our song while he was living. We filled the pages up with shared drawings. We smiled. Every day was grand. We knew that he was dying. Help to carry me home.

In Baltimore, I was bold enough to bring a sign with me in GA that simply read “Man of the Hour” on one side, “has taken his final bow” on the other side. I’d sent an email to PJ; probably not the way to ask for a song. It told the whole story. I had my sign, but didn’t want to raise it. I wasn’t on rail and didn’t want to block anyone’s view, even though it was small. My friends insisted that I raise it. I don’t recall what song I had it up for.

The GA crowd was full of locals, as best I could tell. When Mike threw out picks, they were all over them. I have Mike picks from this tour, so I focused on the music and let the others dive for them. Then Jeff threw out a pick. It bounced off my left shoulder and onto the floor. Everyone dove. I focused on the music; didn’t want to miss anything. Jeff threw another pick. More like shot it. It bounced off my left shoulder and onto the floor. Everyone dove. I focused on the music. Jeff shot out another pick. Bounced off my left shoulder and onto the floor. I might not be quick, but I’m no dummy. That pick was mine. 33. Kareem. Those guys know what we are experiencing. They share our loves and our losses. Our joy and our sorrow. They are our brothers. Our family.

— Amy Wynn

16. Black – November 21, Sydney, AUS

I gotta admit, there were some creative signs on the Oz tour: a backboard and basketball hoop asking for a tambourine, a “Hey Jeff, let’s retake this photo from 1995” (both successful), but in terms of song requests, does anything beat the one for Black from Sydney 1, made out of LED lights?

Request granted, we get a husky voiced Ed patrolling the stage, engaging an audience of 45,000 as only he can. It’s a song from 1991 about anguished heartbreak experienced in isolation, but on this night in Sydney 33 years later, he’s even smiling, helping us harness the healing power of being together for a giant, communal singalong. It’s soon over to Mike, however, to take charge. With the band locked in over Stone’s three chords, McCready becomes a beast unleashed. The solo brings him to his knees in front of his pedal board, and he attacks his strat with fury. Then he’s up again to switch gears and elevate it even higher, to another plane. It’s crazed but it’s perfect. And as Matt, Jeff and Stone bring us in for a soft landing and his solo recedes, Mike is spent.

The icing? Ed recognizing and acknowledging once again that for more than 30 years, he’s shared the stage with one of the best musicians there ever has been. Usually directed at the lost love in the song, he joins Mike stage right, gestures to his dear friend and sings the We Belong Together outro to him. Once Mike realizes what’s happening, he smiles and returns the sentiment. “Me and you. Me and you,” Ed sings. It caps off one of the great performances of 2024.

— Brad Arundale

15. Leash – September 4, Madison Square Garden

What are some of the best ways to intro a Pearl Jam song where you’re guaranteed to get a big reaction? I’d have to put Corduroy and Go high on that list. Hail, Hail is a big one for me personally, but if that bass flurry that ignites the start of Leash isn’t in the conversation, then I have to reevaluate what it means to be a Pearl Jam fan. Take this version from the Garden into consideration. This had been a red hot crowd reacting to a fiery setlist taking place in the world’s biggest city. We had just heard Sonic Reducer for the first time since playing MSG two years prior. You’d think with it being that deep into the encore that the band was gonna stick to the script with Alive signaling towards the end. Instead, there’s a bit of a pause and some deliberation as to what’s about to happen…

“Alright we’re gonna make a last minute alteration because I think you’re gonna like it. But what do I know?”

Enter: Leash bass intro. It was uncommon for a song to be a late addition into a set this year without it needing to replace something previously planned. Subtractions, on the other hand, were much more common, which is part of why this moment is a massive standout. The Garden came unglued at this point. Think back to all of those times in the early 2000’s where songs from their past were coming back left and right. Even though the fans would hold up signs “cat calling” the band in order to persuade them to play it, Leash was still put on the back burner until 2006. In the last decade, Leash has only been played 14 times. Rare enough for the moment to still feel immensely special 18 years after its return. People don’t forget that. So when that bass rolls in and the crowd erupts, the weight of the moment is not lost.

There will always be something liberating about 18,000 people chanting “get outta my fucking face” as they embrace a youth anthem well into their 40’s, but that’s why the song has been so revered. It takes you back to a time where things were simple, anger was justified and the power was raw. For a New York crowd known for having a bit of an attitude, it was the perfect addition to an incredible night.

— Randy Sobel, Live On 4 Legs Host

14. Throw Your Arms Around Me – November 10, Auckland, NZ

Night one in Auckland brought a tasty entree in the form of Liam Finn guesting on Habit; but it was night two’s appearance of his father and Aotearoa music legend, Neil Finn, that truly satisfied the stadium’s 40 thousand plus attendees. Ed gave a preamble that he first learned about New Zealand, not through geography class, but through a record sleeve when he was 15; likely referring to Split Enz’s new wave breakthrough album True Colors.

Ed introduced Neil referring to him as both a hero and a friend. Out from the wings Neil came, sprouting characteristically disheveled hair, a blue on blue outfit, and a cheeky smile. Throw Your Arms Around Me was a fitting choice of song for the pair to perform. Written by Australian Mark Seymour in Hunters And Collectors, the song has traveled separately for decades with Ed and Neil, being a cover they have each utilized with regular rotation and popularized within their own fan bases. Neil mostly strummed the acoustic rhythm, Ed alternated between picking the arpeggiated chords and decisive single strums on his clean tone telecaster. They shared lead vocal duties, each taking a verse while the other backed with harmony, allowing the melodies to rise and fall with warmth and sincerity.

There was a looseness to the version. Appearing to feel their way through the nuances of the song in the moment, rather than having it ironed out in advance. They sang to each other as much as they sang to the audience; they turned towards each other watching for cues. Their big smiles and eye contact frequently threatening to interrupt the delivery with laughter. It was a backyard singalong between friends that happened to take place on a stadium stage. The moment felt both entirely casual and absolutely iconic. Our kiwi hearts swelled with pride and catharsis.

— Chris Warne

13. Hard To Imagine – August 22, Missoula, MT

Under the ‘Big Sky’ at Washington-Grizzly Stadium, a politically charged Pearl Jam returned to Jeff’s stomping ground for the first time since 2018. After a blistering Even Flow in the 10 spot, Eddie dedicated this next song to 2 fans in attendance, Adam and Jeff, who were both battling cancer. The Ten Club heard Beth’s (Jeff’s wife) request – perhaps with a little help from LO4L – and the opening notes of Hard to Imagine rang through the stadium. Only played 3 times on the 2024 tour, this particular version has Ed tagging the Setting Sun lyrics ‘let us not fade’ in the outro. With the full version of Setting Sun played later on in the Encore, it is one of the rare occasions that a PJ song has been tagged AND played in full at the same show.

Hard to Imagine is almost always in a show’s top 3 when it makes an appearance, and this emotional performance was no exception. ‘Things were different then, all is different now…’ I couldn’t help but think about the hardships that Jeff, Adam, and so many others are facing while the whole crowd sang these words. Beth has since said that Jeff finished treatment over the summer, but unfortunately, his cancer is terminal. Jeff was dumbfounded when he heard the dedication, and the look on his face is something that Beth will remember forever.

Pearl Jam, especially live Pearl Jam, offers an escape from reality. Maybe a chance to go back to a time when we first heard that song on the radio, or the time we drove all day to get to a show. And, for a moment, it’s just us and the band, and nothing else matters.

— Dani Tatlow

12. Can’t Keep – September 12, Baltimore, MD

In an interview earlier this year before the tour, the band was asked if there were any songs they wanted to add to the tour this year. Eddie Vedder suggested a Wellwater Conspiracy song, Felicity’s Surprise (don’t get me started on that one), and Stone Gossard picked Can’t Keep, which was originally written by Vedder and recorded as the opener for the band’s 2002 release Riot Act. It was later re-recorded by Vedder for his solo album Ukulele Songs in 2011, and it even had a video!

Baltimore was show number fourteen for me in 2024, my last stop on this leg of the tour before doing two nights at Ohana. It was also the only show for which I was able to get in GA line early. My concert buddy got there before I did and let the rest know I was on my way, and we got in and wound up dead center, second from the rail.

When you get to a PJ show that early, there’s a TON of waiting before even the opener, Glen Hansard, comes out. Conversations start: “What do you want to hear?” “Will Stone sing?” but the most common is usually “What’s the opener going to be?” I decided to have a little fun with this. Since Can’t Keep hadn’t been played all tour, Stone wanted it. It’s usually played as an opener, and there were only the two Fenway shows left before Ohana, I lied. To everyone. I said I had inside information; someone told me it would be Can’t Keep. Whenever anyone questioned it, I just said, “Well, wait and see.” It was, at best, an uneducated guess on my part, partially out of boredom after standing on my feet for hours on end.

Once Matt’s opening drums kicked in, it seemed like everyone in the area looked in my direction. One even asked “What else is on the setlist?” to which I replied “Evenflow, Alive.” Can’t Keep is such a solid opener because it’s a relatively quick-paced acoustic song, and it builds upon itself, Vedder’s voice climbing higher and higher until he hits the final line of the chorus “…you can’t keeeeep…. me.. heeeeeeeere!” It’s one of the classic Pearl Jam songs used not only as a concert opener but also started two albums.

Most of Pearl Jam’s openers are slower tunes: Of the Girl, Sometimes, Release, Wash, Oceans, Long Road, Pendulum. Don’t confuse Can’t Keep with any of those. Yes, it’s acoustic. Yes, it can be played on an ukulele, but the pace of the song is frantic. It’s a hype song, which led into an upbeat show. It set the tempo for the show to come. And I’m happy to take full credit for calling it.

— Mike Cribier

11. Won’t Tell – August 29, Wrigley Field

Chicago night 1 was amazing in so many ways; the setlist, the energy, the effortless connections made through our love for this band. Already on a high from scoring GA for the first time, I had no idea what was coming next. I made a sign and promised myself to have no expectations, but then the encore rolled around. Eddie told me to get ready, and everything quickly became a blur. I remember switching between hyping myself up one second, to second guessing myself the next.

I definitely underestimated how loud it was going to be on stage! When I realized I couldn’t hear myself, I panicked. But the reassurance – the kindness that is so freely given – it made me forget it all within seconds. Won’t Tell is such a beautiful song (thanks Jeff!) It was an honor attempting to harmonize with Eddie. The 13 year old me who sang Pearl Jam songs in her room would never believe this. She was in awe of this band, and so am I.

Music is such a guiding force in our lives. It saved me in every way a person can be saved. It’s healing, it’s escapism, it gives us strength. Meeting the band who has unknowingly given me that strength feels surreal. I’m forever freaking grateful.

— Abby Hobbs

10. In My Tree – September 15, Fenway Park

Sharing the memory of Chris Cornell, picturing both Ed and him up there among the branches with the wind pushing them back and forth, just hanging out, carefree and having a blast as only two legendary daredevil singers can, really helps keep the good times fresh and at the forefront despite the heavy heart that accompanies it. And this is so important when you lose someone, especially much too early. It was such a wonderful moment to hear Ed’s heartfelt recollection here, and then for the rest of the band to meet that moment with one of their own, unleashing a truly masterful performance of the song.

I’d like to give spotlight mentions here for Josh’s supplemental percussion alongside Matt’s, and also Jeff’s bassline accents both which really led to a fully realized and uplifting performance. That story, with that performance, in that perfect late summer open air environment, is a moment I’ll continue to relive on the bootleg especially as winter approaches.

— Tom Gregory

9. Last Kiss – September 29, Ohana Festival

After the encore break of the second night of Ohana, Eddie came out with just an acoustic guitar. That’s a pretty predictable part of the show, although what he’ll play is never that easy to predict. This night, there was an extra stool and microphone set up which could have been for any number of Ohana artists or friends. “I realized it had been a while since we had a powerful young women on stage with us,” Eddie said, “so my pal Harper is going to help me out.” With that Eddie’s younger daughter Harper came out and Eddie began to play Last Kiss.

Last Kiss is not my top choice, though I’m always reminded that it is their highest-charting single in the US, peaking at number two on the Billboard Hot 100. From talking to fans, I think most of us would rather see most anything else get played to the back or for an encore. This Ohana version with Harper turned out to be very different and special. After EV sang the first verse, instead of “Oh where oh where can my baby be,” Harper shakily started in with, “I’m 5 years old, it’s getting cold, I’ve got my big coat on…” She’s singing about pumpkin patches, and falling asleep on the way home, and I am confused.

For one, she seems very very nervous. Who wouldn’t be! Singing in front of 20,000 people for the first time can’t be easy. She’s following in the shadow of her legend of a dad and her big sister who has killed it every time she’s hit the stage, most recently the day before when Olivia performed My Father’s Daughter with Glen Hansard during his festival set. The second reason I’m confused is because I did not recognize that the lyrics she is singing to this Last Kiss mash-up is actually Taylor Swift’s 2008 The Best Day from her Fearless album.

Honestly, I thought Harper had written these words herself and this was some crazy experiment concocted by Eddie and his daughter to make up a sweet rhyming duet together. But Last Kiss is an odd choice! It’s about losing a romantic love in a tragic car accident and Harper is signing about childhood memories, and smiling nervously and her voice breaks each time the lyrics mention her dad. In one verse she sings, “I have an excellent father” and later she says, “And Daddy’s smart and you’re the prettiest lady in the whole wide world.” As I listened I tried to figure out what all these lyrics had to do with each other and the whole thing was a lot to wrap your head around. Maybe if you knew it was Taylor Swift it was easier to get into, but how many Ohana going Pearl Jam obsessed gen-xers are in the know? My wife and I are small time Swifties. We have seen Taylor Swift 3 times (1989, Reputation, and Eras Tours), and our kids listen to her non-stop, but neither of us picked up on what was happening.

It was confusing but adorable. It was even cuter when we figured out it was a Taylor Swift cover. As mentioned, Harper was visibly nervous, but smiling and clearly loving being up there with her dad. When the song was over Eddie introduced his singing partner as “Harper Vedder” like he had just performed with any other renowned special guest. He then thanked the crowd for his indulgence by explaining that his other daughter Olivia also sang in front of a crowd for the first time on the Ohana stage, and that when he was 12, Eddie caught his first wave off the shore of Doheney Beach, the very same beach where Ohana takes place. He concluded, “so this has turned out to be a great place for families to catch first waves.”

— Jed Garfunkel

8. Love Boat Captain – May 30, Seattle, WA

An unforgettable performance of Love Boat Captain in Seattle stands out as one of those rare moments in live music that transcends just the song and becomes something much more profound. What made this experience truly remarkable was not just the electrifying energy of the performance, but the deeply moving speech Eddie Vedder gave right before the song began. In that moment, he spoke with such raw honesty and conviction, urging the crowd to remember the importance of unity — especially in a world that often feels divided. He reminded us that, as individuals and as a society, we need to come together to support each other, and to be there for one another regardless of our differences. It was a powerful call for empathy and solidarity that felt particularly relevant, given the times we are living in.

What really struck me was how seamlessly Eddie connected that message to Love Boat Captain. The song, with its themes of struggle, loss, and the search for meaning, already carries a deep emotional weight. But when Eddie tied his speech into the lyrics, the song took on a whole new level of significance. It was no longer just about personal pain, but about the collective experience of facing challenges together, as a community. There was a sense of healing in the air as Eddie spoke — an unspoken understanding that music has the power to bring us together in ways words alone often cannot. It made the performance feel like more than just a concert — it felt like a shared moment of catharsis and connection.

The intensity of the performance that followed only amplified that sense of unity. Pearl Jam, with their unmatched energy and passion, played Love Boat Captain as though they were channeling all the emotion and power that Eddie had just spoken about. The way they poured their hearts into the song was nothing short of electrifying. Each note, each beat, felt charged with the raw emotion of the moment. Watching the band play with such intensity and witnessing the crowd’s collective energy was an experience that could only be described as transformative. It was as though the entire arena was vibrating with the shared spirit of hope and togetherness that Eddie had evoked just moments before.

Being there, surrounded by friends, in that sea of emotion and energy, was something truly special. It’s hard to describe the depth of feeling in that moment, as everyone around me seemed to be caught up in the same powerful current of connection. It was a reminder that even in a world that often feels fragmented, music and shared experiences have the incredible ability to unite us all. Pearl Jam’s performance wasn’t just about the songs — they were about reminding us of the power we have when we come together. Their music, and the messages they deliver through it, continue to inspire in ways that go far beyond entertainment. They don’t just play songs — they create moments that make us reflect, feel, and, ultimately, remind us of what truly matters.

— Javier Hervas, Live On 4 Legs Co-Host

7. Setting Sun – May 4, Vancouver, BC

Obliviously this was the first night of the tour with all new material from Dark Matter. Little side note being in the building, they started with Scared Of Fear, React Respond, Wreckage and Dark Matter, the buzz in our section was we were getting full album, then came Daughter and there was a little moan in the arena.

Back to Setting Sun – Yellow Ledbetter was played and we all thought it was the end of the night like usually when that song gets played especially after Ed thanked the crowd. So we all mentally thought the show was over. They did their usual goodbye to the crowd but when they went back to their spots and the lights went out that was a surprise. When the opening to Setting Sun started, it just sounded great. What made it unique for a Pearl Jam fan was is it was a new closer and the visuals to Setting Sun were amazing. It just matched the intensity of the song. The visuals were made for that song alone. Definitely was the talk of the night along with Bobcaygeon tag and Red Mosquito hiccup. Very lucky to have seen this as a closer, I wish they did it more often.

All in all it was definitely a surprise after Ledbetter. It was best song of the night. The sound, the bands performance, the visuals and getting a new closer. Unreal way to cap off the opening night. One of the best experiences I’ve had at a live show.

— Cam Waldbauer

6. Untitled/Present Tense – September 17, Fenway Park

Among the many things we love about Ed is his embrace of the stories of local fans and friends onstage to connect with the audience. These stories also serve to enrich the impact of the next song on the setlist, or, in this case, the next two. Here Ed speaks at length about the losses of venue security guard Dick, Red Sox videographer Johnny Martin and NHL exec Chris Snow, the latter two who succumbed to ALS.

Dick was a security mainstay during Boston PJ shows for the last few decades and even was introduced onstage a few years ago at a show. And he also hailed from my hometown of Norwood, MA, so I always enjoyed when he would get a shoutout at a Boston area show. Johnny Martin was also mentioned at the second 2018 PJ Fenway show during the intro to Wasted Reprise, where Ed mentioned his fight with ALS and his popular “Cafe Martin” gatherings. And Chris Snow was a talented sportswriter turned hockey executive who was friends with Theo Epstein. With that set up, Untitled was a great choice and resonated with me in a new way where I could picture the narrator calling a lost love one’s phone, just to hear their voicemail message again. I remember really soaking it in and being moved by the slight lyric change at the end “with your memory, I could never be alone”, readying myself for the energy surge of the MFC start.

But wait… is that the first notes of Present Tense? Holy cow!

In that moment, my PJ excitement scale began shooting sparks and smoke, then settling on an error message. What a combination, one I’d never considered before even on a dream setlist. And again, in consideration of Ed’s set up, as with Untitled, I could hear this song in the context of the ones left behind, dealing with a loss, perhaps even as the caretakers of someone with a long illness. The performance itself was stellar too, of course, with Jeff doing some interesting counter melody notes in the chorus. Overall though, just screaming the Present Tense chorus out at to the Fenway night sky will always be my first thought when thinking of this tour. A well-deserved spot on this list.

— Tom Gregory

5. Wasted Reprise/Life Wasted – July 6, Barcelona, ESP

“It was a Poignant experience I won’t be forgetting at any time soon. And we won’t be forgetting tonight anytime soon”

This was how Ed wrapped up talking about his recent, and obviously serious, illness and led into Wasted Reprise and Life Wasted. While he was referring to that with this sentiment, it definitely summed up the moment for those of us there in Barcelona as a well. Following Just Breathe at the top of the encore, a few notes of Reprise started. Then an emotional Ed shared some insight into the health scare, “near death experience” actually, that he recently endured and was the catalyst for cancellation of the 3 shows scheduled prior.

“Got frightening… felt like maybe you couldn’t breathe, that maybe you wouldn’t make it through the night, maybe you’d have to go to the hospital, maybe…” This was the 1st show back for the band after those cancelled shows. The crowd was definitely moved by Ed’s sharing of these details and cheered in support that he made it through and was standing in front of us tonight. While these songs turn up at least once most tours, its purpose was clear on this occasion. Ed sang Reprise with a ferocity especially the final “I escaped it. A life wasted. I am never going back again”! Certainly this particular performance had powerful meaning to Ed, the band and to the audience.

Following an emotional Reprise, the band jumped into Life Wasted. This too was a spirited performance that Ed and the boys really leaned into. Mike of course was amazing as always (slight bias as I was Mike side GA this night) but Jeff and Stone had an awesome jam as well. And Ed was determined to show he was healthy now and back at it.

Ed talked about how he and the band realized how precious this life is. How lucky they are to play to incredible people, like the people in the room that night. This moment made us realize how lucky we are too – to still have this band recording, touring and performing all these years later. To be in the same room for those there that night. How precious it is and how easily it might have been gone. Let’s not take that for granted.

— Lori Jernberg

4. Long Road – May 22, Los Angeles, CA

After a hot first night in LA, anticipation was high for Night 2. They immediately set a different tone with a Long Road opener, which is always a treat to start a show, but this version packed an extra, unexpected punch. After the first verse, Ed was overcome with emotion and stopped singing while the band kept playing as Ed decided to address the crowd, which seemed as much a surprise to the band as it did to the crowd:

“Um, my (deep breath)…I was going to tell you about my…sorry. There’s a guy in my life called Uncle…John Vedder…he took me to some of my first concerts, he taught me how to play baseball, he took me to early Cubs games. He…he kinda shaped me from an early age and, um, it’s been ten years since he passed away…today. So, um, and it’s been a long ten years, because the days got longer, because I appreciated every day. I appreciated every day and I wanted to live every day in his name. And, the days got longer, and then, because I missed him, the days got longer. So anyways, before I felt, um, I just had to get it out of my system before we played tonight. So, with your help…”

Wow! This was so incredibly powerful to watch Ed struggle to get through it overcome with such emotion and sharing this incredibly intimate and vulnerable moment right out of the gate. He was obviously feeling the weight of his Uncle’s loss before the show and scratched off the original opener, which was Footsteps. The song itself is highly emotional, but Ed breaking down and sharing this brought it to a whole other level.

Many of us have personal connections with this song. It is one that is frequently requested in memory of a loved one who has passed. For me, this was the first time I’ve seen them do this since my father passed last year. The song that I most strongly associated with him was Man Of The Hour, which I got to see a week later in Seattle. Long Road hit me harder than it ever has in the past, which was likely a combination of my recent loss and the emotion from Ed.

Ed has dedicated this song to so many and has clearly been moved by other people’s stories and connections to the song. But this night, the song was all about Ed, and this time, it was for his own healing and grieving. Early in the song, Ed realized he wasn’t going to be able to get through the song without expressing it and bringing the crowd into what he was going through. The crowd responded with the support that Ed needed, and there was a buzz that went through the crowd at the end of the song after what we just witnessed.

This was a standout version of the song that is one of my favorites given Ed’s emotion. I’m sure there is emotion he puts into this song each time he plays it that he channels for those on his mind that he misses and has lost. But I haven’t seen him break down this emotionally in the middle of the song. It was impossible not to connect to Ed’s emotions and what he was going through that night. It was immediately clear that this was a special and unique moment that won’t be forgotten any time soon.

— Jason Weiss

3. Hunger Strike – November 23, Sydney, AUS

One of the golden rules of attending a Pearl Jam show is to expect the unexpected. The last night of a major tour always seems to spring a few deep cut surprises, but no one in attendance could have possibly expected this song to have been played. Even the most hopeful fans would not have included it among their wildest suggestions when discussing what they would like to hear on the night.

After a spirited rendition of Given to Fly, the crowd were praised, “You have great voices here” to which Ed then added, “We’d like to have you use them with us now.” My immediate thoughts were – would it be Better Man? Jeremy? Even Daughter, which had been so warmly received during the first Sydney show. No, for the first time since 2014, and their first performance of it since the untimely, tragic passing of Chris Cornell, Pearl Jam would play Hunger Strike. On a warm evening under the lights of the ENGIE Stadium, Ed took on both verses as the crowd shook off their bewilderment to finely, and movingly, handle Cornell’s vocal parts during the chorus.

A poignantly brilliant performance from a tour that had an abundance of memorable moments, and one that may never be repeated.

— Alex Hoggard

2. Whale Song – September 27, Ohana Festival

Every tour, intrepid Pearl Jam concertgoers make their lists of songs for the upcoming tour: “Never Seen,” “Never Again,” “Want Again,” and “Covers.” I’ve been doing this myself and sharing with others in the PJ community before tours, and it’s gotten harder and harder for me to check boxes in “Never Seen” – (you attend Pearl Jam shows regularly since the early 90s and that will be a consequence – not that I’m complaining!). The last few times for that section, I’ve been adding songs I never expected to actually hear – and the top of that list is the song we are talking about here, the least likely of the unlikely, the ultimate “white whale” – Whale Song.

Now, what makes this song so unlikely to be heard? Well, for one, it’s never been played live, and it was recorded nearly 30 years ago. For another, the lead singer on the track is the band’s former drummer, Jack Irons, who also wrote the song. To top it all off, it’s not an overly popular song, and I would say even the vast majority of Pearl Jam fans outside of die-hards wouldn’t recognize it. It appeared on the rarities collection Lost Dogs but was originally released in 1999 on various artists compilation album Music for Our Mother Ocean, Vol. 3 which wasn’t exactly a best seller and got no radio play.

Fast forward to the Ohana Festival 2024. I’m in the VIP GA section, enjoying the show surrounded by many Orange County types and some PJ fans. Eddie talks about people seeing multiple shows, and how they hunt their white whale, checking off songs they’ve never seen before. I’m still oblivious (Felicity’s Surprise?) I hope. Then he says it’s a song written by one of their great drummers (Angel?). Not once did I assume Whale Song because *it’s Whale Song*. Eddie introduced Zach Irons, Jack’s son, to vocals. Zach was on the Ohana bill with his band AWOLNATION in which he plays guitar (he’s excellent, perhaps a better guitarist than his father is on drums). Immediately, my much more astute concert companion Ryan (I believe this was our 32nd show together) said out loud “fucking Whale Song?” which immediately clicked *of course it’s Whale Song*. One other PJ fan nearby echoed “No way, fucking WHALE SONG?” and then they started in.

The rendition was great. Very true, no screw-ups as one might think, considering how many times they had played it, and Zach was the embodiment of his father 25+ years earlier. The crowd, however, seemed to be completely lost. While Ryan, myself, and our PJ friend stranger were laughing and singing and having a great time, the energy around us shifted. “What is this?” “This is terrible!” “Who is that person?” “Why are they playing this?” The Orange County locals grew restless. “This isn’t JEREMY!” I imagine one of them said. The thing to remember is Ohana, although it’s Vedder’s festival, is not a Pearl Jam concert, and it’s not all a Pearl Jam crowd. It is very much an Orange County locals show, and that in and of itself brings in a different audience.

But the version was perfect. There, on the sand at the beach on which Eddie learned to surf, an ode to the largest mammals on Earth, who continue to be needlessly hunted by man for organic harvests of things we can easily, cheaply, and humanely create without slaughter. It’s unfortunate that a song released in 1999 is just as true today in its message to defend the defenseless against the unnecessary and heartless slaughter of whaling attacks.

“They won’t fight back.
I’m sure they know how.
Means they love or too proud.
They swim. It’s really free.
It’s a beautiful thing to see.
They sing.”

Yes, they sing. And for one night, so did Zach Irons. I’m glad I was there to see it. Box checked.

— Mike Cribier

1. Gremmie Out Of Control – September 29, Ohana Festival

“Tonight we’re playing , a little hint, we’re playing every song about water that we know.”
– Eddie, before Wreckage, 9/29/24

Cowabunga! Where do I even begin? The aforementioned bust-out was mind blowing, but it also got the wheels spinning: Did they have another unthinkable bust-out planned for their next appearance on the third night of the festival? I figured we were definitely due for, well, something. It should have been obvious, and based on text messages I received from several friends after the unthinkable Whale Song bust-out on day 1 of the festival, maybe it was.

While Whale Song was featured on Music For Our Mother Ocean, Vol. 3, there was another ultra rare song of theirs that was featured on the first edition of this compilation – a cover of an obscure 60’s surf song called Gremmie Out Of Control by The Silly Surfers. But here’s the thing: In order to play Gremmie, the band would need their long-time producer, Brendan O’Brien, who plays the surf guitar licks that are prominent throughout their cover version. As I found myself in various conversations through the 2nd and 3rd day of the festival, I kept getting hung up on the fact that Brendan would have to be there, as Jack Irons’s son was for Whale Song. It just seemed unlikely. So, I thought about what other bust-outs would be killer: Just A Girl? Comes Then Goes? Happy When I’m Crying?

Fast forward to PJ’s set. It was a beautiful night next to the Pacific Ocean. The main set was solid, including a pretty cool bust-out of its own right and a song staying true to Eddie’s statement about playing all of their water-related songs: Big Wave. (dedicated to “all of the surfers”).

Encore time. The encore started with a great mashup showcasing Eddie and his youngest daughter combining Last Kiss and a Taylor Swift song, and then a beautiful duet with Glen Hansard. As Glen left the stage, Eddie started chanting “OTOTO!” Those of us that have traveled around the country (and the world) seeing the band, and listened to countless bootlegs, knew what he meant. Shit was about to get real. OTOTO: One Time, One Time Only. “We’re gonna play a song tonight that we’ve never played before, and very well may never again.” As Eddie started talking about what was about to happen, he stated “We have a great, great friend, somebody we made many, many records with. Spent a lot of, lot of time together. He’s been very important to us. His name is Mr. Brendan O’Brien and he’s on the guitar right here.”

It was at this moment, even before Eddie mentioned the M.O.M. compilation and the fact that Stone was going to be on lead vocals, that my brain exploded. GET. THE. FUCK. OUT. OF. HERE?! Brendan ripping it up, Stone yelling “Cowabunga!”, Eddie singing the verses… THIS is why I travel all around the world following these guys.

There are good shows, there are great shows, there are transcendent moments. And then there’s the unbelievable. I’ve been lucky to have seen some monumental moments in my travels following this band, and this ranks up there with some of the all-time things I have been lucky to have witnessed over the years. If you had told me you had Gremmie on your bingo card before Ohana, I would have called you a bald-faced liar (or Nostradamus). It’s as legendary as anything they have ever done.

Go ahead and ask my friend, and Ohana companion, Derek how many times I have texted him “Cowabunga!” since the festival. Go ahead. I dare you.

— Brian Horwitz

And there it is! While this band always promises us top tier moments from every tour, it’s always stunning to see that we have so many to choose from. The fact that every show and every story is different keeps us on our toes, and because things change so rapidly, if you miss out on one bootleg, you are basically guaranteed to miss out on something great.

With a tour already announced for 2025 and tickets in some of our hands (coughineedfloridacough), there’s already so much to look forward to in 2025. We can only imagine what kind of big moments are lined up in Hollywood, Atlanta, Nashville, Raleigh and Pittsburgh, and around this time next year, we’ll be back to highlight the best of the best again!

This project is not a one man gig. It takes participation from the awesome friends in our podcast community to help make this as big as it is. Whether it’s campaigning for certain songs to make the list, or volunteering sharing some of their personal experiences, I’m thankful that there are so many people here that are dedicated to making this happen every year! I’d like to shout out to the folks kind enough to share their efforts this year.

First thank you goes to Chris Everett, our webmaster, who helps make this look as good as it does, and our graphics guy, Charles Khem, for creating the artwork and 50 YouTube stills in order to get away without having to embed. Thanks to Sheehan Perera of ConcertPants for recommending the headline image taken by Mike Dziama, and of course thanks to Mike as well. I’d like to thank Kirk Walton who edits together an extensive playlist of the songs, including taking speeches and adding them to every track. Look out for it on our Discord or Podcast Community group on Facebook.

A huge thank you goes out to all of the writers this year in no particular order – Thomas Redman, Cam Waldbauer, Sandra Ling, Richard A., Ned Lally, Steve Bennett, Jason Weiss, Greg Steele, Christine McLeod, Mar Vigil, Aaron Redmond, Amy Wynn, “The Gear Guru” Javier Hervas, Lori Jernberg, Kieran Fino-Saunders, Eric Stevenson Gonzalez, Dani Tatlow, Bradley Piasecki, Debbie Strozier, Michele Menke, Eddie Quintana, Abby Hobbs, Dakota Duvall, Thomas Taubes, Tom Gregory, Patrick Boegel, Mike Cribier, Jed Garfunkel, Brian Horwitz, Chris Warne, Nadene Roff, Shane Jackman, Brad Arundale, Alex Hoggard, Gianluca Camma and of course, Mr. Ned Tugent! A lot of familiar names mixed with new names here, and we’re so thankful to have this kind of help on a project of this magnitude!

And a big thank you to all of you guys who help make this community such a positive environment worth giving back to! These shows are incredible, and the setlists are exciting to follow, but you stick around year after year because of the connections you make here. I can’t wait to make more of them next year!

One last thing to share with you guys here and that’s the stats for each show’s representation on this list. Some shows did better than others, and some shows didn’t get any love at all, but here’s a quick recap of how it all looks on paper. Happy holidays everyone!

(3) Seattle – 5/28: Man Of The Hour, All Along The Watchtower, “Yellow Wing”

(3) Seattle – 5/30: Love Boat Captain, Waiting For Stevie, Hurt

(3) MSG – 9/4: Jeremy, Glorified G, Leash

(3) Sydney – 11/23: Tremor Christ, Hunger Strike, No Surrender

(2) Vancouver – 5/4: Chloe Dancer/Crown Of Thorns, Setting Sun

(2) Portland – 5/10: Seven O’Clock, Footsteps

(2) Vegas – 5/16: Wreckage, Breath

(2) Los Angeles – 5/21: Faithfull, Rearviewmirror

(2) Indianapolis – 8/26: Wash, Song Of Good Hope

(2) Wrigley Field – 8/29: Even Flow, Won’t Tell

(2) Wrigley Field – 8/31: Porch, Better Man

(2) Philadelphia – 9/7: Brain Of J., State Of Love And Trust

(2) Philadelphia – 9/9: Alone, Rats

(2) Fenway Park – 9/17: Corduroy, Untitled/Present Tense

(2) Ohana Festival – 9/29: Last Kiss, Gremmie Out Of Control

(2) Auckland – 11/10: Throw Your Arms Around Me, Rockin’ In The Free World

(1) Sacramento – 5/13: Light Years

(1) Los Angeles – 5/22: Long Road

(1) Bottlerock Festival – 5/25: Maybe It’s Time

(1) Dublin – 6/22: Keep Me In Your Heart

(1) Barcelona – 7/6: Wasted Reprise/Life Wasted

(1) Barcelona – 7/8: Oceans

(1) Missoula – 8/22: Hard To Imagine

(1) MSG – 9/3: Given To Fly

(1) Baltimore – 9/12: Can’t Keep

(1) Fenway Park – 9/15: In My Tree

(1) Ohana Festival – 9/27: Whale Song

(1) Gold Coast – 11/13: Got To Give

(1) Melbourne – 11/18: Daughter/It’s OK

(1) Sydney – 11/21: Black

Shows with no moments featured on this list:

Vancouver – 5/6
Vegas – 5/18
Manchester – 6/25
Madrid – 7/11
Lisbon – 7/13
Auckland – 11/8
Melbourne – 11/16